Not Okay: A Cringe-Inducing Satire on Social Media Desperation

The moment Danni Sanders (Zoey Deutch) stands in front of a mirror, meticulously applying makeup while pretending to be in Paris—her apartment transformed into a shabby set of a French café—the film Not Okay lays its cards on the table. This is a story about desperation, deception, and the dark underbelly of internet fame. Directed by Quinn Shephard, this satirical black comedy-drama dives headfirst into the absurdities of social media culture, with mixed results.

Shephard, known for her nuanced storytelling in films like Blame, brings a similar introspective quality to Not Okay. The film’s opening scenes are a masterclass in satire, deftly capturing the performative nature of online personas. Danni’s lie about attending a writers’ retreat in Paris is both pitiful and relatable, a testament to Deutch’s compelling performance. She embodies Danni’s desperation and self-loathing with a raw authenticity that grounds the film’s more absurd moments.

The film’s strength lies in its ability to balance humor and pathos. Scenes like Danni’s awkward encounter with Colin (Dylan O’Brien) at the influencer party are cringe-inducing yet poignant, highlighting her emotional isolation. The relationship between Danni and Rowan (Mia Isaac), a teenage anti-gun activist, adds depth to the narrative. Their bond feels genuine, making Danni’s eventual betrayal all the more impactful. Isaac delivers a standout performance, bringing a quiet strength and vulnerability to Rowan that makes her a compelling foil to Danni.

However, Not Okay stumbles in its second half. The pacing becomes uneven, and some plot points feel rushed or underdeveloped. Harper’s (Nadia Alexander) investigation into Danni’s lie, for instance, could have been given more screen time to build tension. Additionally, the film’s attempt to tackle serious issues like PTSD and online harassment sometimes feels tacked on rather than organically integrated.

The controversy surrounding the trigger warning at the beginning of the film—intended as a commentary on viewers’ reactions to unlikable female protagonists—adds an interesting layer to the discussion. This meta-commentary is a bold move, but it doesn’t always translate seamlessly into the narrative. The warning serves as a reminder of the film’s satirical intent, but its execution feels heavy-handed at times.

Visually, Not Okay is a mixed bag. The film’s aesthetic co-opts the glossy, curated look of social media, but some scenes feel overly stylized at the expense of substance. The soundtrack, however, is a standout, with a mix of indie tracks that perfectly capture the film’s tone.

The film’s exploration of influencer culture is timely and relevant, but it’s not without its flaws. Not Okay joins a growing list of “internet movies” like Ingrid Goes West and The Disaster Artist, which also delve into the darker aspects of online fame. While these films share similar themes, Not Okay distinguishes itself with its focus on the moral quandaries that arise from deception.

Deutch’s performance is the film’s standout element. She brings a complexity to Danni that makes her both sympathetic and frustrating, a rare feat in a genre often dominated by one-dimensional characters. O’Brien also delivers a strong performance as Colin, capturing the shallow narcissism of an influencer with ease.

The film’s pacing issues are a significant drawback. The first half of Not Okay is tightly written and engaging, but the second half feels rushed and disjointed. The resolution of Danni’s story arc, while satisfying, lacks the emotional weight it deserves. Additionally, some of the film’s satirical elements feel obvious and heavy-handed, detracting from its overall impact.

Despite its flaws, Not Okay is a thought-provoking exploration of the dangers of seeking validation through deception. It’s a film that will resonate with viewers who have ever felt the pressure to curate their online personas or question the authenticity of the content they consume. The film’s themes are timely and relevant, making it a must-watch for anyone interested in the intersection of technology and society.

In conclusion, Not Okay is a film that aims high but doesn’t always land its punches. It’s a timely critique of internet culture, bolstered by strong performances and sharp writing in its first half. However, its pacing issues and uneven execution prevent it from reaching its full potential.